Eyeballing your value

Do eyeballs matter? Short answer: yes. It would suck to edit without possessing eyeballs.

So if I was actually talking about the number of eyeballs watching your project, would that matter? Well, that depends.

As of this writing, I’m editing on American Ninja Warrior, a wildly popular obstacle course competition show that airs in the US on Monday nights on NBC, watched by millions (5.74M this past Monday). A producer and I were recently chatting about the show.

“Let’s face it,” he said, “the number of eyeballs on this show is more than the last 11 shows we’ve both worked on.” Somewhat hyperbolic, but closer to being true than not. Implicit in his statement: a higher number of eyeballs on your show is automatically better.

I used to think that was the case. Early in my career, I wanted to edit bigger and more popular shows simply because they seemed more prestigious, more likely to get an Emmy, pay more money, etc. Then I got to my first network gig and realized, “Yeah, this show is being watched by 8 million people instead of 800,000, but it’s pretty much the same thing I’ve been doing.”

Since then I’ve spent a good chunk of my editing career cutting smaller TV shows that air on small cable channels, maybe getting recut and repurposed all over the Internet. I’ve found that those jobs have much lower overall stress, and higher probability that producers will trust me with a deadline, some content to cut, and just let me do my thing. Ahhh… yes. Fewer eyeballs, but definitely higher quality of life.

Oh, and what about all those projects that don’t get seen by hardly anybody? I’ve been hired over and over to cut presentation and sizzle reels that are never seen by anyone outside a TV exec’s office. Or maybe a screening room with a 30-member test audience. Hardly blockbuster ratings in terms of eyeballs.

Stop worrying about how many eyeballs are on your projects. Sometimes it matters, but far more often it just doesn’t.

Focus more on what you want your piece to say. Who you’re saying it to. What you want those people to know or do after they experience your piece. The kind of things we talk about here.

Why? Because those kind of questions are the ones that will bring powerful reactions from audiences of any size.

One of the most treasured pieces I’ve ever edited was created for the sole purpose of asking one question to one person.

Introducing “Edit Better: Hollywood-Tested Strategies for Powerful Video Editing,” the latest book from author and Hollywood TV editor Jeff Bartsch. If you consider yourself an advanced hobbyist or growth-minded pro, you need this book. If don’t love it for any reason whatsoever, we’ll refund you double what you paid.

Imagine pushing a magic button in your video editing software labeled “BETTER.” Any project you edit turns out exactly how you planned, every single time. Your audience is absolutely spellbound, wiping tears from their eyes, laughing out loud, or sitting in stunned silence as they see the world in a different way for the first time.

Bad news: that button doesn’t exist. Good news: EDIT BETTER shows you how to get there anyway...

CLICK HERE FOR MORE INFO.

Praise for EDIT BETTER and Jeff Bartsch

Jeff is the real deal, and so is his take on the process. Even though the process can take years to grasp, let alone master, Jeff breaks it down in the most accessible fashion. Pay attention and you will not just learn how to edit better, but how to edit best.- Tom Costantino, Editor, Los Angeles, CA (credits include CSI: Miami, Survivor, and Mysteries of Laura, a new scripted drama starring Debra Messing)

Simply outstanding! A very easy read, clearly a professional's POV, and here's one of many things I love about it: even though I'd say I knew or practiced about 90% of what you've written, man, the 10% I didn't know or hadn't thought of the way you've presented it is unbelievably helpful. Anybody, from seasoned pro to newbie is going to find it very helpful. I'd even go so far as to describe it as essential reading for the 21st century editor. Please quote me on that. Lovin’ it, dude, you’re a badass!– Harold Houze Jr., Editor, Los Angeles, CA/New York, NY (credits on CBS, FOX, ESPN, MTV, many others)

Jeff is one of the most talented and trusted editors I have ever worked with. I think anyone considering the opportunity to learn from Jeff should leap at the chance.– Frank Sinton, Executive Producer/COO A. Smith & Co. Productions, Former VP Programming FOX Sports Net, Former VP Programming Disney Channel

When I want to captivate and wow an audience, I turn to Jeff. And if you are serious about telling stories that resonate powerfully with your audience, I recommend you do the same.– Jan Landis, 8-time EMMY-winning Television Producer, Dr. Phil/ABC/TV Guide Network

Jeff has an amazing ability to flesh out concepts that previously only lurked hazily in the back of my editorial mind. I've learned more about the craft of editing from reading his insights than I ever learned in four years of film school.– Chuck Gonzales, Producer/Editor, Houston, TX

We help amateur and pro video editors reach the next level of creativity in your editing, no matter your editing tools.

Praise for Edit Better

LOVING your book. It’s so refreshing to read a book about editing and not Avid vs. Final Cut. – Jeremiah Daws, Freelance Editor, Los Angeles, CA

Very, very well written. You hit so many very important considerations an editor would have without going anywhere near arguments about tools. Well done, indeed. –Joe Pena, Independent Producer/Media Specialist, Chicago, IL

I'm only half way through, but I wanted to give it a glowing review thus far. It's a wealth of great information. This book has already given me my monies worth. Thanks, Jeff. –Earl Martin, Writer/Director, Watertown, WI

Got my signed copy of "Edit Better" on display in my office. I've already had one teacher thumb through it and decide she needs to buy her own copy...it's that good! –Ed Zimmerle, Media Producer and Consultant, Fort Dodge, IA

The amount of knowledge Jeff has and the way that he communicates it instantly makes your editing prowess that much better. The information Jeff gives from experience is usually found in conversations with editors in edit bays, not readily available in text.– James Gregg, Freelance Editor/Videographer, Linden, NJ